#r/death note

[ladygriffith]

What if Kira was female?

Hi I wanted to thank you guys for your discussion. I did this fan art and had no idea people were already having a reddit thread with my fan art. here is my take: I thought if Light was female, L and Kira would slowly fall in love with each other.

I don't see Light as misogynist, as he disregarded the feelings of either sex and I don't believe female Light would be misandrist. I would have kept Misa female, with Misa being one-sided romantically attracted to fem! Light. She was still kira and had killed the murderer of her parents and Misa pledged her loyalty. I don't believe Takada would be a love interest, but more her best friend from university.

She would still manipulate Misa and L would have even more conflicting feelings between justice, rivalry, psychological mind games and love. L's analytical approach and suspicions of Light might take on different nuances as he navigates the complexities of interacting with a female suspect. With Light being female in a traditional setting in Japan, I believe Kira would be a lot more unassuming as the daughter of the police officer, Soichiro Yagami, making it harder for L to prove she is guilty and the task force would doubt him more. L may grapple with internal conflicts as he navigates the possibility of accusing a young woman of being a mass murderer, adding complexity to his character development and moral dilemmas.

My ultimate goal was that L and Kira bonded more deeply and through love, built a foundation of understanding each other, navigating through the facades and lies as they had twin flame energy. during the time she erased her memory, they would end up being a couple. L would get the chance to confront her more privately and question her motifs more discreetly rather than investigating in front of the task force. they would have an emotional bond, sexual tension and she would try to seduce L. his suspicion increased to a high percent and there would be a phase where L would have to remove himself from the case since of his personal feelings were involved. and we would still have mello and near's appearance.

L would refrain from handing her over to the authorities (I think they still had death penalty in Japan) and Kira would refrain from killing him. soichiro would survive as mello wouldn't kidnap sayu under L's watch. mello would stay alive since takada wasn't involved. and near would work on the case eventually proving she was Kira, not sure if she'd kill him and mikami in the process.

L would survive, but justice would be served.

She would be sentenced, but by L's intervention not to death. L proposes an alternative life sentence:

Kira's imprisonment in an asylum. she would get the help and the mental health treatment she so desperately needed. L revealed that he had personally funded Light's stay in the asylum. over time, they decided to burn the death note, erasing her memories of it and the evil it did in the world too. no one should ever put their hands on that notebook again. after some years when the he once-feared Kira becomes slowly a public distant memory, she would be released. L would take her abroad where they lived together rather secluded but peacefully and solved cases.

all in all, i wanted to give them a chance to confess their hidden feelings and stay alive.

this was partly inspired by a fanfic of bahari 'Asylum' and 'Silence'.

[mcgee427]

i feel like we should give a cat a death note and see what happens

[brawltogethernow]

The Disco Elysium/Death Note fic I discovered I'd accidentally crafted myself into the perfect engine to write when it possessed me for five straight months (based off neproxrezi's excellent viral post) is finally done and posted.

A crossover formatted like a Disco Elysium bonus sidequest! Play as Harry Du Bois*,

*simulate watching a letsplay where the player selects slightly different choices than you would

and investigate who fatally struck Light Yagami with a Kineema Coupris! (It was you.)

PROJECT your latent bisexuality onto Light's corpse!

FLIRT with Touta Matsuda????

ENCOUNTER an exciting new cryptid! (shinigami)

And learn about the main event: The etymology of Elysium's alternate history version of pogs

[dailygihun]

day 6 || this era lasted like 2 minutes but i love it anyway

[bl00dypawsiezz]

꒰ 𑄽୧ ꒱Cutecore tights and shirts

ྀི◟ ͜ ◞ 𝓼𝔀𝓪𝓽𝓬𝓱𝓮𝓽𝓼◟ ͜ ◞ ྀི

꒰⁐⁐⁐⁐⁐⁐⁐⁐⁐⁐୨୧⁐⁐⁐⁐⁐⁐⁐⁐⁐⁐꒱

ೀ ⠀34 swatches ೀ ⠀need mesh

꒰⁐⁐⁐⁐⁐⁐⁐⁐⁐⁐୨୧⁐⁐⁐⁐⁐⁐⁐⁐⁐⁐꒱

꒰ა Need Mesh ໒꒱

You have to download the mesh by Atomiclight ꒰bow camisole꒱

ೀ ⠀13 swatches ೀ ⠀no need mesh

[t4bbi3-2]

Wow this Light guy is pretty gay

[littlegrnghoul]

My immortal x death note AU that I can’t stop thinking about. L would be called Hell or something stupid like that.

[numbuh424]

the successors were too busy hunting kira in 2009, meanwhile creepypastas must've hit wammy's house like a bomb during that time. mello should not have been out there risking his life and dying, he should have been posting LABB to r/nosleep.

[smallsinger5901]

real talk who in the spk is going to buy Near a new set of toys every 20 minutes because it sure as hell isnt him

[rilkeantulip]

late night investigating,

[thebatsandthebugs]

expanding a bit on my last post about Hollow Knight and how it uses gender in the story and it's just sooo scrumptious how femininity is used in relation to Hornet.

It's a vital part in her story- she is separated from her siblings solely by virtue of simply having a gender. and being a 'girl', femininity is her way of expressing that strong connection to gender- in HK we don't get a name for her clothing but it is very clearly based off a skirt/dress, it is PINK, and her weapon is literally a needle and thread; a clear reference to sewing, which was historically women's work, and I would argue the act of sitting down and sewing has a bit of a cottagecore, leisurely, soft and feminine connection today.

so her being a lethal and proud warrior who uses that needle and thread in deadly fashion is already an interesting subversion, but silksong is clearly taking it further.

Her 'dress' is now labelled as a 'hunter's cloak', and it's not really the pinkish purple colour it was- it's a bright bloody red. ignoring the practical/gameplay reasons for the change, it's such a fun way to show her 'awakening'- she is the daughter of Herrah, too long she has slept, watching over her father's dying kingdom! She is reclaiming her spider viciousness, and even the colour of her garb is bright and lively (and again- it's bloody).

away from the tombs of her parents, she can figure out what it truly means to be the gendered child. for years it has meant being the watcher, the protector, the tomb-tender, but never the heir - in the land of the weavers, will she realise it is more than just passivity? will she lash out, unburdened as she is now, and know that this 'femininity' can be a twisting, snarling thing, a smile with fangs bared and dripping blood?

will she fully see how the needle may both stab one in the heart and stitch up wounds?

[clydemendacium-ii]

[ghostdrinkssoup]

Severance S2 spoilers, but I think innie!Mark running back to Helly is deeper than just him realising he doesn’t have feelings for Gemma. As we know, outie!Mark gets severed because he doesn’t know how to cope with Gemma’s passing, meaning he’s someone who struggles to accept death (and by extension change). We see this characterisation extend to innie!Mark when Petey’s disappearance forces him to re-experience grief. Notably, innie!Mark’s gut reaction is to hide the group photo of Petey so he won't be reminded of him, similar to how outie!Mark hides Gemma’s things in his basement because it’s “easier pretending she never existed”. Innie!Mark later shreds the map on the back of that same group photo when Helly presses him to question Petey’s death, again, very similar to how outie!Mark tears up the picture of Gemma. Despite differing contexts, both versions of Mark try to prove they don’t “give a shit” about someone they are very clearly mourning.

Innie!Mark isn’t just mourning his best friend, but also how things used to be. His attachment to Petey doubles as an attachment to the culture created by his coworkers, again, not so dissimilar to outie!Mark mourning his old life with Gemma. In both cases, he doesn’t want things to change. The idea that work culture is created “by the people” is established in the first episode, during a meeting between innie!Mark and Cobel:

Here, Cobel explicitly associates hell and heaven with the work environment, noting that hell is not reality but our perception of reality, influenced by our environment. Essentially, the people at work determine whether the workplace is worth being attached to. Although this philosophy isn’t universal (not everyone loves their coworkers), it aligns with innie!Mark’s values, as demonstrated in the shredding scene: 

Here, innie!Mark confirms that he isn’t loyal to Lumon, but to his colleagues. We also learn that in the face of uncertainty, he would rather lean on the support of his immediate community (his “family”) than become isolated, reframing the workplace as an intimate (and domestic) space. Considering that severance is meant to separate people’s work lives from their personal lives, this scene is particularly fascinating. Especially since Helly resists conflating the professional sphere with domesticity (“I could not, with a razor to my throat, be less interested in being your family”), viewing work as a prison that restricts her freedom (which, ironically, is likely the reality of Helena’s personal life). Interestingly, innie!Mark resents Helly’s constant disobedience until she tries to commit suicide. Again, when he’s confronted by death.

The show continuously reminds us that loss of intimate attachment, whether at work or home, is what both versions of Mark fear most. For example, innie!Mark is the only worker who hasn’t tried to quit. Helly repeatedly tries to quit in season one, even though she knows it’ll end her life; Irving is more than ready to quit after he learns Burt is married, and is ready to accept his death after outing Helena as a mole; Dylan also tries to quit when he’s separated from Gretchen and realises she won’t be coming back. Innie!Mark is the only severed worker (of the main cast) who can't accept death. Walking out that door terrifies him, and Lumon nurtures that fear. As Milchick says in season one, death isn’t something that happens at Lumon. The workers don’t even know what death looks like, as shown when MDR find the animal corpse in Woe’s Hollow:

Suddenly, the external world of the natural environment overwhelms the workplace, bringing death in its wake. Yet, the internal world of domesticity also brought loss in the form of Petey, Burt, and Irving’s “retirements”. Clearly, neither private nor public spaces are appropriate labels for the workplace, because the workplace is unnatural, monitored, and sealed off from reality. Lumon literally advertises this state of being, yet woe resulting from the loss or death of a loved one keeps threatening to invade this sequestered paradise. The personification of woe being a ghostly bride (AKA someone’s dead wife) also feels pretty pointed.

But let’s return to that point from earlier about work culture. As we have already established, innie!Mark is more than willing to work at Lumon if he becomes accustomed to the culture created by his colleagues. Helly contrasts him in this sense, as she is both independent and capable of rallying people to action without group support or approval (as we see during her speech to Choreography and Merriment). Innie!Mark, meanwhile, quelled his rebellious behaviour the moment he made friends with Petey. Under ordinary circumstances, innie!Mark is unlikely to be the kind of person to just up and leave his job because it’s exploitative. His decisions are not guided by morality, they’re guided by emotional attachment. We see this with outie!Mark in season one: his views on Lumon only begin to shift after he attends Petey’s funeral, and goes to his (Petey’s) daughter’s concert. Before this moment, outie!Mark is mostly apathetic about the inner workings of Lumon because severance is a convenient coping mechanism. It’s only when the peace is disturbed, and someone he’s grown to care for dies, that he changes gear. 

Innie!Mark behaves similarly when he demands to have his team back in the first episode of season two. It’s the most rebellious we’ve ever seen him. He doesn’t want his friends to disappear, and once they’re back, he doesn’t quit despite being given the option to leave. He wants to find Ms. Casey (who he knows is his outie’s wife), sure, but he’s also attached to Helly and his other colleagues. They’re his family, and he is very unlikely to abandon his family.

Outie!Mark is also very unlikely to abandon his family. The moment he learns Gemma is alive, he’s willing to risk everything (including his safety) to get her out. His stubbornness and loyalty are only rivalled by his innie’s, who is effectively himself. The problem isn’t that innie and outie Mark are different people; it’s that they’re the same person. If the roles were reversed, outie!Mark would never leave Lumon for Helly, not if it meant leaving Gemma behind. He would do the exact same thing innie!Mark does because neither version of him can accept loss, which is why he can’t leave. It’s not just Helly: it’s Dylan and all the other innies he would be abandoning. Not to mention that leaving would mean his certain death and Mark has never been able to deal with death, something Lumon promises to shield its workers from.

Why don’t people quit their jobs, even when they know it’s corrupt? Because people become complacent, conditioned, and attached to the status quo. Innie!Mark was always going to run back into the tender arms of hell. For a moment, it probably seemed a lot more like heaven to him.

This has been Mark’s consistent characterisation throughout the show. Do I view innie!Mark and outie!Mark as separate entities? Yes and no. I do think that innie!Mark is just as much a person as outie!Mark, and that they are different versions of the same person. However, that doesn’t mean they aren’t the same person. If innie!Mark was different from his outie, he probably would’ve gone with Gemma. But outie!Mark has never learned how to accept grief, and innie!Mark is a version of himself that hasn’t evolved past this worldview either. What we see at the end of Cold Harbour, then, is a very literal representation of self-sabotage. Because the type of person who would’ve gone with Gemma wouldn’t have severed himself to avoid grief in the first place. For Orpheus not to turn around, he would've had to be someone else.

[lyssist]

WOOHOOOOOi love these sm

[sublimerences]

They remind me of that one SASALELE meme

Near: "sasalele" < read it as sasalele

Mello: "You idiot, it's sale sale" < read it as sale sale

Matt: "Yeah, it's sale sale!" < read it as sasalele but doesn't wanna look dumb

L: "no it's sasalele" < read it as sale sale but sasalele is funnier

LMAOO here u go… sasalele. Me personally I’m more of a slaeslae kinda guy

[notamure]

light if he got the shinigami eyes or something ouuugod